“GOP mocks donors, used scare tactics to raise money. Gosh. Really. You mean to say the RNC is full of fearmongering jackals who lie like dogs about the so-called “threats” of President Obama, health care reform, global warming, gays and abortion and all those terrifying vaginas, just to get more money, power, and to shout down its more intelligent and informed detractors? And they think many of their own followers are morons? Look how shocked no one is.”—10 amazing truths you already suspected / Part IV! Pink fried chicken, Oklahoma vaginas, French G-spots
“Another way to phrase this is through a more recent quote from Elbert Hubbard,” Ferriss says. “‘To avoid criticism, do nothing, say nothing, and be nothing.” Ferriss, who holds a Guinness World Record for the most consecutive tango spins, says he has learned to enjoy criticism over the years. Ferriss, using Roman philosophy to expand on his point, says: “Cato, who Seneca believed to be the perfect stoic, practiced this by wearing darker robes than was customary and by wearing no tunic. He expected to be ridiculed and he was, he did this to train himself to only be ashamed of those things that are truly worth being ashamed of. To do anything remotely interesting you need to train yourself to be effective at dealing with, responding to, even enjoying criticism… In fact, I would take the quote a step further and encourage people to actively pursue being thought foolish and stupid.”—Tim Ferriss: 7 Great Principles for Dealing with Haters
Anybody can be a marginally capable photographer, but it takes a lot of work to learn to become even a competent painter. Now, having said that, I think while photography is the easiest medium in which to be competent, it is probably the hardest one in which to develop an idiosyncratic personal vision. It’s the hardest medium in which to separate yourself from all those other people who are doing reasonably good stuff and to find a personal voice, your own vision, and to make something that is truly, memorably yours and not someone else’s. (…)
“A gallery is not a social club for your friends, artists you know, people you went to art school with, or those droves of lip-servicers out there who adore you in theory but not in practice (in other words, who show up at your openings, drink your wine and buy nothing).”—
“Really looking and observing is hard, and you can’t do it by following a formula. What connects all my work is finding the right balance between intention and chance, doing as much as I can and knowing when to let go, allowing fluidity and avoiding anything being forced. - Wolfgang Tillmans”—Frieze Magazine | Archive | Look, again
“I think it’s really exciting. It’s the perfect time to crack a new code, fuck the system, spit in the face or our elders, topple the hierarchy make love to the present and move forward. I don’t care about the money part, I care about the mental shift. That new buzzing feeling that everyone wants a change, a change in concept, intent, format, structure. I feel like the power is coming back to the artists. I feel like galleries where starting to become more important then the art in them. Their sense of prestige and glamorisation of money, fame and exclusiveness seemed important and powerful- even something to strive for. Now it’s starting to seem slightly sad and empty. Gallerists are terrified because the illusions they built up to suck artists and collectors into their fantasy are dieing. In a time when allot of people are losing money and looking at the damages of excess it seems vulgar to want to keep up those types of appearances. Don’t get me wrong, I feel like galleries can be amazing, incredibly useful creative spaces, it just seems like a time for them to possibly re-evaluate their motives and format. Artists are getting out easy, because what we do is not dependent on money, we can always and will always make art. We’re like cockroaches. ”—HUH. Magazine - Aurel Schmidt
“Can’t afford to pay your income taxes? Paint a picture instead.
That’s the deal Mexico has offered to artists since 1957, quietly amassing a modern art collection that would make most museum curators swoon. As the 2009 tax deadline approaches, tax collectors are getting ready to receive a whole new crop of masterworks.
“It’s really an amazing concept,” says José San Cristóbal Larrea, director of the program. “We’re helping out artists while building a cultural inheritance for the country.”
“Long ago, art outsourced the ability to define itself by granting that right to privatized media, galleries and museums. In doing so, a major gulf formed between artists who identified with the work claiming to represent their time and those who found little resonance in an art dictated by profit motivations. In asking, “What museum represents me?” or even “What publicly known artists have the same interests as me?” many found the answer was non-existent. In the lives of young artists, the internet is a place to find one’s self through the existence of others– to individually reclaim the ability to self-mythologize and empathetically pick from your peers for influence. Thus, internet art is marked by the compulsive urge of searching (or, surfing) to connect with others in a way that is not directed by privatized interests, but found and shared among individuals.”—JOGGING
“Taking a straight photograph, documenting a performance, appropriating an image, or mastering a process are not enough to make it in the 21st century art world; there are some forgettable photographs here I’m afraid. The photographic works I found most thought-provoking in this show were those that are built on layers of outward looking ideas and realities, that took on the larger forces in our society at this particular moment in time, rather than those that were overly self-conscious or inwardly reflective. The disruptions I saw were based in the context of the times, rather than the fabric of ourselves.”—DLK COLLECTION: Whitney Biennial 2010
“The 2010 representatives of the documentary/straight approach to photography pack such an emotional wallop that they seem to be saying: make it extreme or just go home. Stephanie Sinclair’s desperate images of Afghan women charred by self-inflicted burns are bloody and horrifying, so much so that the exhibition room was filled with gasps, “My God”s, and uncomfortable intakes of breath; the suffering and violence that is depicted is harsh and shocking, but entirely unforgettable. Nina Berman’s images of the hometown life of a disfigured soldier (including his thoroughly alienated wedding day) are similarly tragic. Both bodies of work depict the realities of war, and explore the downstream personal effects of our current day social/political choices. As the only two examples of “traditional” photography in the whole show, I was reminded of Paul Graham’s recent comments about the state of medium (here), and the ensuing discussion of the value of capturing unique moments with a camera. If these two photographers are any indication, the contemporary art world isn’t looking for subtlety in its straight photography, it’s looking for outright reaction-provoking challenge.”—DLK COLLECTION: Whitney Biennial 2010